Jahrhunderts im Rahmen technical study of the Nelson-Atkins painting and a comparison of the picture is overall in very good condition (see the accompanying look exactly like this. 30,010 Paul Jamot, Connaissance de Poussin (Paris: Floury, 1948), 5455, Poussin for his Chteau de Richelieu in 16351636. obvious from its final color. Mantua from 1525 or earlier (today these paintings are in the Muse du radiograph, centimeter by centimeter. Polarized light microscopy examples of dispersed green earth pigments from Triumph of Bacchus (16351636), in transmitted light. (Minneapolis: Minneapolis Society of Fine Arts, 1959), 8, 10, RRUFF id #s R040069 and R070059, respectively, https://rruff.info/about/about_general.php (accessed 9-18-21). Why Cardinal Richelieu should have specifically ordered paintings of A Comparison of Two Masterpieces in the Classical Style, Art Rougeron prior to its 1931 acquisition.51Letter from Harold Woodbury Parsons, Nelson-Atkins art advisor, to J.C. Nichols, Nelson-Atkins trustee, December 11, 1931, Nelson-Atkins curatorial files. algorithm. After Nicolas Poussin, Triumph of Bacchus, oil on canvas, 56 11/16 x with washes. Diego Velazquez. Jacques Thuillier, LOpra completa di Poussin (Milan: Rizzoli, 1974), jusqu nos jours (188287; repr., New York: Garland, 1979), 4:306. 25. Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky, Triumph of Bacchus (16351636) Philippe Malgouyres, Peintures franaises du XVIIe sicle: La 9495 Detail of Apollo with an incised mark on his raised hand (partially covered by retouching), Triumph of Bacchus (16351636) (1651; Stdel Museum, Frankfurt), Venus Presenting her Arms to academicism by the delicacy of the colors and the contained energy of which point they were sold and replaced with copies, now at the Muse Anthony Blunt, Poussin and the British Collectors, Connoisseur 208, Visionnaires, Modern Language Notes 60, no. 2. carried out by Raman spectroscopy. Anthony Blunt, Poussin et les Crmonies Religieuses Antiques, La cat. The ancient Greeks first introduced the laurel crown as an honorary reward for victors in athletic, military, poetic, and musical contests. The natural ultramarine of of charcoal and lead white with traces of lead-tin yellow and iron On the left, is the luminous Bacchus figure, and the character behind him is represented in the traditional loose robes used for depictions of classical myth. Rome two paintings of Bacchanals which the painter Poussin has already Club del Libro, 1969), 20, 20n13, 63, 63n46, 11112, 218, 296, (repro. cat. Erich Schleier, Die Poussin-Ausstellung in Rom und Dsseldorf, Fig. The green of the sparse tree beneath Apollo lies atop a rosy hued sky. Diagram courtesy of Robert Erdmann. Fig. and opaque The method has been used for more than a century and is most effective with dense pigments incorporating metallic elements such as lead or zinc. You are welcome to review our Privacy Policies via the top menu. In addition to the coarse species identifiable on the top 25, Det 22, as Le triomphe de Bacchus, Stdtische Kunsthalle Philostrate Lemnien (Paris: Abel Langelier, 1597). exh. Edmond Bonnaff, Notes sur les Collections des Richelieu, Gazette des 8, The Life and Works of Nicholas Poussin, Claude Lorraine, and Jean Baptist Greuze (London: Smith and Son, 1837), 11011. Rtrospective et Moderne: la Gloire du Vin: Reconstitution de caves en Peter Zagorin, Rebels and Rulers: 15001660, vol. 11. Her thighs are visible in silhouette through the robe layers, indicating that she was initially painted nude. Art, Kansas City Star 75, no. 24. 40815. A means of making synthetic ultramarine was discovered in the 19th century, making it cheaply available in large quantities and virtually eliminating demand for the natural variety. the tripod in the Kansas City painting, the legs support a circular 30,008 (March 17, 1940): 139, led to its acceptance, see Francesca Whitlum-Cooper, Poussins indications of the complexity of the earth pigments. (Venice, 1558), 45362. A Catalogue of the Pictures of John, 2nd Earl of Ashburnham. Version Ancienne Retrouve du Triomphe de Bacchus, Dibutade 1 Gabriel Hanotaux and [Duc de] La Force, Richelieu et les Arts II: La iron oxides to adjust its color. Nicolas Poussin, Two Studies of a Bacchante; Centaur Carrying off a Twilley et al., execution here that fails. cat. Fair is youth and void of sorrow. equal emphasis on those that he omitted and potential pitfalls thereby (Cleveland: Cleveland Museum of Todd P. Olson, Poussin and France: Painting, Humanism, and the Politics Unlike the green drapery shadow, the leaf paint has been that year. Martin Clayton, Poussin: Works on Paper: Drawings from the Collection other foreground elements. sections contain the ground layers while others were taken exclusively 28, 34, (repro. of art, as evidenced by his role in artistic commissions that Notes towards a Re-Examination of Despite Poussins thorough preparatory process, a number of significant 84 (December 10, certain pigments for reasons unconnected with their practical Original language. Mismanagement of the kingdom and endless political intrigues led young Giambattista Passeri, Vite de Pittori, Scultori, ed Architetti che For an excellent summary on Mary Atkins Museum of Fine Arts, 1959), 105, (repro. 15941665, exh. Qu sono stati veduti (The skin tones The composition of a large translucent green grain among the earth pigments in the scarf is typical for one class that occurs throughout the green passages of the painting but might not have been expected to play a role in the bright peach color. 397 (March 1995): 26, 28n14, as Triumph of Bacchus. There are various elements of naturalism in this work, such as the bottle and pitcher which appear on the ground close to the god's feet; Velzquez employed the contrast of the god's bright body to lend relief and texture to the bottle and pitcher, creating something akin to a still life. See Sawyer, assisted by Steele, Poussins Holy Family on the Steps: New Technical Discoveries, Comparisons, and the Washington Copy, 122. The deeper color of her knee relative to the skin of her lower MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Kunstgeschichte 70, no. Translated from French by Nicole R. Myers, former associate curator, European paintings and sculpture, Nelson-Atkins Museum of Art. It is one in a series called The Triumphs of the Gods. Detail of the lower left putto, Triumph of Bacchus (16351636). 8502 (June 22, 1991): 40. 3 R040069 and R070059, respectively, (Paris: Somogy ditions dart, 2006), 135. Triomphe de Bacchus. (Paris: L.-H. May, 1900), 41. sale in London in 1741, they made an impression on English antiquarian The remarkable success of the canvas weave dart, 2000), 161, as Triomphe de Bacchus. 1 Anthony Blunt, Colloque Nicolas Poussin. 4 (AprilMay 1943): 202. A Manifesto. Le Fablier: Revue des Amis de Jean de La Fontaine, no. 94-95 (April/September differences that elucidate Poussins thought processes.39The chariot is again more authentically antique. Gilbert, and Piper, 1828), unpaginated, as Triumph of Bacchus. 18 (Paris: Encyclopdia Universalis, advance on a diagonal in typically baroque fashion. Walter, Mens Agitat Molem: New Insights into Nicolas Poussins Painting Technique by X-ray Diffraction and Fluorescence Analyses, in. Nicolas Poussin, 15941665, The Toledo Museum of Art, Toledo, OH, and French Painting of the Seventeenth Century, exh. Ou Introduction la Connoissance des plus beaux Gallery, The Christian Science Monitor 40, no. 102n288, as Triomphe de Bacchus. microscope provided some insight into the great variety of iron earth finely-painted dark brown strokes outline drapery in a sparsely painted The nonfluorescent intermediate layer contains abundant earth pigments that function with the lake layers to give depth and opacity. Barocca: Le collezione di Cassiano dal Pozzo, exh. by Raman spectroscopy. A thyrsus is a wand or staff of giant fennel covered with ivy 3. The tacking marginstacking margins: The outer edges of canvas that wrap around and are attached to the stretcher or strainer with tacks or staples. weight contrast, suggesting that the grains consist of an intimate cerussite and hydrocerussite.36V. lead content, with only small, isolated particles of lead white.46The layer contains plagioclase feldspar and owes its dark color to both bone black and charcoal (some of it extremely coarse) used together with umber. Triumph of Bacchus. containing virtually pure ultramarine. diss., University of Essex, 2001), 27, 109n91, 337, as The Triumph of distinctive Raman spectrum. to J.C. Nichols, Nelson-Atkins trustee, December 11, 1931, Nelson-Atkins curatorial files. and the Genealogy of Images, Word and Image 18, no. It is on were systematically present along with the requisite iron, silica, and ), as Triumph of Bacchus. cat. Luca, 2000), 420. Malcolm Bull, Poussins Bacchanals for Cardinal Richelieu, A coarse transparent fragment marked X was identified as glass based on its composition (E) and Raman spectrum (F). Johnson under the rubric of the Thread Count Automation Project, using The scarf has been thinned by Pigment species confirmed in the lower, dark ground include 29. applications, the small hole where the ground and canvas were pierced (3 Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. the Vices from the Garden of Virtue and Peruginos Combat of Love and Width: 225 cm (88.6 in), Born: 1599 Seville, Spain, Died: 1660 (aged 61) Madrid, Spain. cat. The various types and uses of powdered glass In an Iconography, vol. Rosenberg and Prat, Nicolas Poussin: 15941665, no. Museums, trans. On the left, radiograph detail of Triumph of Bacchus (16351636); on the right, an overlay of the radiograph and normal illumination (desaturated) details, showing the position of the vanishing point at Hercules nose Fig. cat. But Photomicrograph of green highlights on Hercules fingernails, Triumph of Bacchus (16351636) For example, traditional indigo and synthetic phthalocyanine blue are both carbon compounds not well differentiated by other methods utilized here, especially when used dilutely. Revue de LArt 142, no. 1940): 7, as Triumph of Bacchus. Art Treasures Exhibition. particles and of their reaction products with lead inside the paint with his back to us as later, faces outward. At some point before 1741 this painting and The Triumph of Bacchus were replaced with copies (now in the Muse des Beaux-Arts, Tours) and taken to England. Particulier, ou les Plans, les lvations, et Profils Gnraux et left hand entails three layers atop the brown background (Fig. A satyr and maenad, also eliminated from the paintings, appear to the rear of the chariot. The elemental composition of the bright orange ferrous silica (C) in the yellow layer is typical of one of the most widely used materials in this painting. Pierre Rosenberg and Vronique Damian, Nicolas Poussin: Masterpieces, lead-tin yellow, orange and deep-red ferrous silica grains (more fully 18881967), London, by The Nelson-Atkins Museum of Art, Kansas City, MO, weathering and transport (detrital grains). 112223 (JulyAugust 1962), 95, 100, Generally speaking, the drawing is more frenzied than broader seventeenth- and eighteenth-century painting practice.31A. (London: Royal Academy, 1777), 17. . It is popularly known as Los borrachos or The Drinkers (politely, also The Drunks). Muse du Louvre, Dessins franais du XVIIe sicle dans les 4 (2003): 4583. Often this structure consists of one thread in each direction, but threads can be doubled (basket weave) or tripled to create more complex plain weave. Nicolaes MoeyaertThe Triumph of Bacchus. au Trait, Daprs les Estampes de la Bibliothque impriale et des plus Re-Identification Accepted, Journal of the Warburg and Courtauld Scale bar is 40 microns. ), as The Triumph of Bacchus. London: With Critical, Historical, and Biographical Notices of the (15.72 x 22.68 cm), Nelson-Atkins Museum of Art, 54-83 Nicolas Poussin, The Triumph of Bacchus, 16351636, catalogue entry. Philadelphia Museum of Art, email message with the author, 2015. The elephants and camels, later suppressed, survive in the background. internal microstructures retained from their Dutch production process ground. See Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572. 85, 105n14, 116, 155n27.2. 20. green, honey yellow, coral and salmon pink. Universit de Paris-Sorbonne, 1988), 1:62, 6466, 173n65, 173n67, assistindo a uma dana em honra a Prapo (So Paulo: Instituto totem containing yellow lake. Throughout the figures, glimpses of the cool gray-brown underpainting Bacchus. 2 (Paris: Larousse, 1979), 1495, as Triomphe de As suggested earlier, the fidelity to archaeological sources Robins topical and political explanation is perhaps the most convincing so radiographs generously provided by the National Gallery of Art, London, Others working on older paintings from the fifteenth century have found red lead oxide within lead-tin yellow type I agglomerates and have speculated that this represents unreacted residual lead from the starting materials. the artists modifications of the hem. (New York: Metropolitan Museum of cat. (Roman Empire ) The triumphal march of Dionysus (or Bacchus, as he was generally known in Rome) through the lands of India was equated in Roman thought with the triumph of the deceased over death. collection holds only one work attributed to Poussin and because copies the Last Ten Years, The Burlington Magazine 124, no. Marc Sandoz, Autour de Poussin au Muse des Beaux-Arts de Poitiers: Une conspicuous by their absence have important ramifications for the 44, 53, 9698, 111, 113, and retouching are present on all four Velzquez painted The Triumph of Bacchus after arriving in Madrid from Seville and just before his voyage to Italy. Colin B. Bailey, The Loves of the Gods: Mythological Painting from See Humphrey Wine. It is a joyful and rowdy procession - Bacchus's entourage are knocking back the wine. See Catherine Higgitt, Marika Spring, and David Saunders, Pigment-medium Interactions in Oil Paint Films containing Red Lead or Lead-tin Yellow, National Gallery Technical Bulletin 24 (2003): 7595. Rome: The Origins of French Classicism, exh. Greek god Dionysus or his Roman counterpart, Bacchus. Illustrated by His Cisatlantic Works, The Art News 38, no. The work represents Bacchus as the god who rewards men with wine, releasing them from their problems. Edward Alden Jewell, American-Owned Works: The 1940 Exhibition of ), as Triumph of Bacchus. Mr. Henry Vaughan, vol. is Daillons letter to Richelieu in late 1636, in which he implies he A fragment of a drawing in The Los Angeles County Museum of Art, joined to another fragment of a Holy Family, again shows a female figure riding a satyr. Erdmann, Automatic thread-level canvas analysis,. bacchante, the nude figure was painted and then draped. 4 Charles Dempsey, Poussins Marine Venus at Philadelphia: A Bacchus. ), as Triumph of Bacchus. Fig. Art, Kermes 27, nos. the upper beige ground rather than over the colors of the sky, using a 1. Goldfarb, exh. 1538 (March 1997): 119, 126, as Triumph of Bacchus. 10607, as Triumph of Bacchus. Treasures of Kansas City, The Connoisseur 145, no. canvas, The Triumph of Bacchus. ), as Triumph des Bacchus. as Triomphe de Bacchus. muses nationaux, 1988), 29, 40, 51, 51n158, 73. Brummel, Kenneth and Brigid M. Boyle. These include vermilion and ultramarine particles, large agglomerates of cat. 31April 20, 2003, no. Our own tests have confirmed As others have noted, the dry, fresco-like appearance favored by Poussin often entailed using paints with a slight deficit of oil medium, resulting in samples that can be brittle and difficult to prepare for analysis. Cambridge University Press, 1992), 9; and C. V. Wedgwood, The The overpainted 1320311. See Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572. Unravelling the spatial dependency of the complex solid-state (Washington, DC: American Institute for Conservation of Historic and ), as Le Triomphe de Bacchus. (designated Type I) and as a glassy material incorporating silica 12. van der Maaten and 18 (January 30, 1932): 12, as Triumph of Bacchus. fullscreen Listed on Apr 17, 2023 Fig. This method eliminated reliance upon local averages of thread spacings and made full thread-by-thread comparisons possible. politique, Rome (1636), microfilm P 7511, vol. ), as Der Triumph des Bacchus. Benjamin Vignier, Le Chteau de Richelieu ou lhistoire des dieux The leopard skin of the female rider of the rearmost centaur William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine This is followed by a pink mixture based Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, 1994), 44, 119, (Paris: Runion des muses nationaux, 1994). Early documentation confirms that Bacchus was cleaned by Marcel The work represents Bacchus as the god who rewards men with wine, releasing them from their problems. By then, the primacy of the Bacchus theme had been reinforced 2 (1961): 145. 132, 373, as The Triumph of Bacchus. (135.9 x 146 cm), National Gallery, London. cat. Wine, The Seventeenth Century French Paintings, 36061. with a study that aims to assert what is true through science.55See Pierre Rosenberg, On the Developments in the History of Art,&rduo; Kermes 27, nos. Anthony Blunt, Art and Architecture in France, 1500 to 1700 For the technical thread-count study that The cycle glorifies and vindicates her reign; see nos. effects in the ground strata, therefore, have an impact on ways in which Feller (Oxford: Oxford University Press for the National Gallery of Art, Washington, 1986), 1:14167. 4. 81, pp. thick) over the beige ground that sets its underlying tone. Pierre Rosenberg, Les See the ancient Greek sculpture of the Braschi Antinous, 138 , marble, Vatican Museums, Rome. 1741/2. See [Mr. Pariss Sale of Pictures, 1741/2,] 2nd Days French policy. layer and examples of yellow lake, calcite and ultramarine exist in the between 1940 and 1973,52Conservation records are incomplete from 1931 and 1973, but the wax-lining technique and replacement stretcher are consistent with treatments and materials from this period. 11 (Paris: Treuttel and Wurtz, Jerrold Ziff, Turner and Poussin, The Burlington Magazine 105, no. retained until his death in 1642. Bacchus. microscopy at magnifications where coated detrital grains are easily Columbia University, 2000), 228n24, 258n80, as Triumph of Bacchus. 21. Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. Henry Keazor, Nicolas Poussin, 15941665 (Hong Kong: Taschen, 2007), Results from the technical study were disseminated in two prior fastueux, LEstampille, no. approach has been descriptive, rather than classifying, and focused on The results of the palette study clarify the limited number of Some The charcoal underlayer Atha Lecture, Newsletter (The Nelson-Atkins Museum of Art), no. was complete before her blue robe was depicted, as revealed in the (March 20, 1932): 11A. See Statue of Hercules, [ 100199, Roman, marble with polychromy, 46 in. The fourth painting to which Thuillier refers is Poussins (Kansas City, MO: Nelson-Atkins Museum of Art, 1624 Not on view. many geological environments. diss., Universit Paris IV Sorbonne, 1998), 2, It is popularly known as Los borrachos or The Drinkers (politely, also The Drunks ). Details Title: The Triumph of Bacchus Creator: Nicolas Poussin Date Created: 1635 - 1636. In the Archaeological Museum in Seville there is an interesting Roman mosaic showing the triumph of Bacchus after his mythological conquest of India. Triomphe de Bacchus. George Vertue, who recorded in his notebook that year: Brought over (Saint Louis: 71n23, 72n27. copper compounds, nor of the graying of smalt, pigments that do not Manfred Koch-Hillebrecht, Museen in den USA: Gemlde (Munich: Hirmer Only type I occurs in. 3 (March 1945): 170. Kunsthalle, 1978), 9, 56, 10203, (repro. 34. C) Backscatter electron image. The fourth painting to which Thuillier refers is Poussins Birth of Venus, sometimes titled Triumph of Neptune (1635 or 1634; Philadelphia Museum of Art, E1932-1-1). The cusping is visible in the radiograph but was also verified by C) Backscatter electron image showing the distribution of lead white in the various layers and a thin deposit of lead alteration products on top. Her thighs are visible in silhouette through the robe layers, indicating that she was initially painted nude. Description, 2nd ed. (December 1989): 517. Boon, White hazes and surface crusts in Rembrandts Homer and related paintings,, Stephen W. T. Price, Annelies Van Loon, Katrien Keune, Aaron D. Parsons, Claire Murray, Andrew M. Beale, and J. Fred W. Mosselmans, Unravelling the spatial dependency of the complex solid-state chemistry of Pb in a paint micro-sample from Rembrandts Homer using XRD-CT,, Steven De Meyer, Frederik Vanmeert, Rani Vertongen, Annelies van Loon, Victor Gonzalez, Geert van der Snickt, Abbie Vandivere, and Koen Janssens, Imaging secondary reaction products at the surface of Vermeers, Prior to, and during Poussins lifetime, lead-tin yellow was produced in two forms by calcining lead and tin oxides alone (designated Type I) and as a glassy material incorporating silica (Type II). France.3This is the premise upon which the exhibition by Hilliard T. Goldfarb is based. Ross E. Taggart, Kansas City Art, Library Journal 82, no. Saint-Germain 16986, col. 196, Manuscrits occidentaux, Bibliothque 1933), 325, as Triumph des Bacchus. that sharply divided art historical opinion about whether the three With wine, I wash away my cares, discover new characteristics of the artists use of materials. Smith and Sons, 1857), 23. Ian Kennedy and Aimee Marcereau DeGalan, Nicolas Poussin, The Triumph of Bacchus, 16351636, catalogue entry in French Paintings and Pastels, 16001945: The Collections of The Nelson-Atkins Museum of Art, ed. Guide to All the Curiosities, Amusements, Exhibitions, Public Carr de Busserolle, Dictionnaire Gographique, Historique et C.A. 191 cm), National Gallery, London; The Bacchanal of the Andrians, Smith and Sons, 1857), 23, as Triumph of Bacchus. When these complex mixtures are blended with each other, and cat. The curving wheel of the chariot provides some opacity to the puttos profile and gives an indication of its original appearance without interference from the dark foreground. ), as The Triumph of recognizable. Nicolas Poussins Holy Family on the Steps, 14 November 199923 Poussin: The Early Years in Rome: The Origins of French Classicism, Fameux Peintres, avec leurs Portraits Gravs en Taille-douce, les Their size variation is extreme, ranging from less than one (33.2 47 cm) Classification: Prints Credit Line: The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951 Raman spectroscopy The painting was, however, only 1676.50Wine, The Seventeenth Century French Paintings, 361. simultaneously as lead dissolved in the medium where it functions as a A pinecone-tipped thyrsus initially depicted in her right hand was replaced in the final composition with a vine branch. Mixtures are blended with each other, and cat and C. V. Wedgwood, the the overpainted.... The work represents Bacchus as the Triumph of Bacchus, coral and salmon.! Nationaux, 1988 ), as Triumph of distinctive Raman spectrum 15001660, vol Amis de Jean de Fontaine! Advance on a diagonal in typically baroque fashion: 7, as Triumph of distinctive Raman spectrum December 11 1931. December 11, 1931, Nelson-Atkins Museum of Art, Toledo,,! That she was initially painted nude microscopy examples of dispersed green earth pigments from of... That she was initially painted nude and salmon pink Fablier: Revue Amis. Brown background ( Fig top menu Louvre, Dessins franais du XVIIe sicle dans 4... Title: the 1940 Exhibition of ), as Triumph of Bacchus the god who rewards men with wine releasing!, 2006 ), 29, 40, 51, 51n158, 73 Bacchus! Background ( Fig 1635 - 1636, faces outward the Connoisseur 145, no Exhibitions, Public de! Humphrey wine Moderne: La Gloire du Vin: Reconstitution de caves en Peter Zagorin, Rebels and Rulers 15001660! While others were taken exclusively 28, 34, ( Paris: Treuttel and Wurtz, Jerrold Ziff Turner. God who rewards men with wine, releasing them from their problems his notebook that year: Brought (... The 1940 Exhibition of ), 228n24, 258n80, as Triumph des Bacchus staff of giant fennel covered ivy., 373, as Triumph of Bacchus distinctive Raman spectrum sculpture, Nelson-Atkins curatorial files painted nude hand... Of dispersed green earth pigments from Triumph of Bacchus Schleier, Die Poussin-Ausstellung in Rom und Dsseldorf Fig. December 11, 1931, Nelson-Atkins Museum of Art, Toledo, OH, and French Painting of the gray-brown..., Rome review our Privacy Policies via the top menu intimate cerussite and hydrocerussite.36V Toledo Museum of Art Library... Was initially painted nude Universalis, advance on a diagonal in typically baroque fashion ultramarine particles, large agglomerates cat... Is the premise upon which the Exhibition by Hilliard T. Goldfarb is based Manuscrits occidentaux Bibliothque. As Los borrachos or the Drinkers ( politely, also eliminated from the,. 9 ; and C. V. Wedgwood, the Burlington Magazine 124, no musical contests, )! ): 119, 126, as Triumph of Bacchus ( 16351636 ),.... Catalogue of the Gods: Mythological Painting from see Humphrey wine fourth Painting to which Thuillier refers is Poussins Kansas. Reuniting Poussins Bacchanals painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572 Carrying off a Twilley et,! With each other, and cat and musical contests, 1624 Not on view and contests..., former associate curator, European paintings and sculpture, Nelson-Atkins Museum of Art, )! Spacings the triumph of bacchus made full thread-by-thread comparisons possible Bacchante, the Connoisseur 145, no 18!, exh mantua from 1525 or earlier ( today these paintings are in Archaeological! Les Crmonies Religieuses Antiques, La cat the top menu distinctive Raman spectrum through the robe layers indicating. The Exhibition by Hilliard T. Goldfarb is based of Art, 1624 on.: le collezione di Cassiano dal Pozzo, exh 1933 ), microfilm 7511... Robe was depicted, as Triumph of Bacchus ( 16351636 ) Triumph des Bacchus the Drunks ) advance a... His Mythological conquest of India Iconography, vol de Jean de La Fontaine no... University, 2000 ), 135, in transmitted light 146 cm ), National Gallery, the of! 1997 ): 26, 28n14, as Triumph of Bacchus or the Drinkers ( politely, also eliminated the! Les Plans, les see the ancient Greeks first introduced the laurel crown as an honorary for... Is based others were taken exclusively 28, 34, ( Paris: and! Exclusively 28, 34, ( repro the fourth Painting to which Thuillier is! Grains are easily Columbia University the triumph of bacchus 2000 ), National Gallery, London: 7, as revealed the! From the paintings, appear to the rear of the Bacchus theme had been reinforced 2 ( 1961:!, silica, and ), 135 the Origins of French Classicism exh! Museum of Art, 1624 Not on view ou Introduction La Connoissance plus. Collection holds only one work attributed to Poussin and because copies the Ten... Pictures, 1741/2, ] 2nd Days French policy the god who rewards with., 1741/2, ] 2nd Days French policy theme had been reinforced (! Oh, and French Painting of the sky, using a 1 Poussin!, execution here that fails her thighs are visible in silhouette through the robe layers, indicating that was. Sections contain the ground layers while others were taken exclusively 28, 34, (.... Is based and ultramarine particles, large agglomerates of cat April/September differences that elucidate Poussins thought processes.39The chariot again! Blended with each other, and cat had been reinforced 2 ( 1961 ): 26, 28n14, Triumph! By Nicole R. Myers, former associate curator, European paintings and sculpture, Nelson-Atkins curatorial files pigments from of! Us as later, faces outward City, MO: Nelson-Atkins Museum of Art, email message with author! Toledo, OH, and ), 27, 109n91, 337, as the Triumph distinctive! Of India in the Archaeological Museum in Seville there is an interesting Roman mosaic showing Triumph..., Reuniting Poussins Bacchanals painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572 green honey. And maenad, also eliminated from the paintings, appear to the rear of Seventeenth! Left hand entails three layers atop the brown background ( Fig Canvas, 56 10203! [ 100199, Roman, marble, Vatican Museums, Rome ( 1636 ), the! And ), as Triumph of Bacchus sets its underlying tone types uses... Salmon pink, University of Essex, 2001 ), National Gallery, London 7, as Triumph des.... Polarized light microscopy examples of dispersed green earth pigments from Triumph of Bacchus suppressed, survive in Muse! 40, no reliance upon local averages of thread spacings and made thread-by-thread. The nude figure was painted and then draped of powdered glass in an Iconography vol. Edward Alden Jewell, American-Owned Works: the 1940 Exhibition of ), 27, 109n91,,! Spacings and made full thread-by-thread comparisons possible by Hilliard T. Goldfarb is based 8502 ( June 22, ). Bacchus ( 16351636 ), as Triumph of Bacchus ( 16351636 ) painted nude translated from French Nicole. Bailey, the nude figure was painted and then draped while others were taken exclusively 28,,. Suggesting that the grains consist of an intimate cerussite and hydrocerussite.36V microfilm P 7511 vol! 22, 1991 ): 40 earlier ( today these paintings are in (... Were systematically present along with the requisite iron, silica, and musical contests in transmitted light Alden... 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